DAC is proud to partner with Roxie Theater in presenting a series of films by the late acclaimed Iranian filmmaker Abbas Kiarostami.
Kiarostami Foundation founder Ahmad Kiarostami in attendance at select screenings and in person for Q&A on Saturday, August 17 after Where is the Friend’s House?
This event is made possible by the Kiarostami Foundation and Janus Films.
Saturday, August 17
Children’s Shorts – 2pm
Children are the protagonists in this collection of shorts by Kiarostami, who began his career making films for an Iranian children’s cultural institute.
BREAD AND ALLEY (10 min), BREAKTIME (11 min), THE CHORUS (17 min), ORDERLY OR DISORDERLY (15 min), SO CAN I (4 min), SOLUTION (11 min) and TWO SOLUTIONS FOR ONE PROBLEM (5 min)
Saturday, August 17
Where is the Friend’s House? – 4pm
The first film in Abbas Kiarostami’s sublime, interlacing trilogy of films set in the northern Iranian village of Koker takes a premise of fable-like simplicity—a boy searches for the home of his classmate whose school notebook he has accidentally taken—and transforms it into a miraculous, child’s-eye adventure of the everyday. As our young hero zigzags determinedly across two towns aided (and sometimes misdirected) by those he encounters, his quest becomes both a revealing portrait of Iranian society in all its richness and complexity and a touching parable about the meaning of personal responsibility. Shot through with all the wonder, beauty, tension, and mystery one day can contain, Where is the Friend’s House? established Kiarostami’s reputation as one cinema’s most sensitive and profound humanists. Iran. 1987. 83 min. DCP. With English subtitles.
About the Artist
A towering figure in the Iranian film community and one of the preeminent world cinema auteurs of the past three decades, Abbas Kiarostami (1940–2016) was the recipient of numerous international honors, as well as accolades from many fellow directors. That said, what endears Kiarostami’s work to so many viewers isn’t some inaccessible loftiness, but rather his humane affinity with ordinary, relatable lives. This touring retrospective, featuring new restorations as well as previously unavailable work, reacquaints us with the master’s warmly contemplative style. Emphasizing ambiguity over contrivance, these gently mischievous films already are aging very gracefully, with stories so distilled that their simplicity becomes newly mysterious. Revisited together today, they shed new light on an enduring cinematic legacy.
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